PREPARING THE MAKE-UP
In adopting the following method in preparing to make-up, I have been
actuated by a desire to preserve the health of my body, and as far as
possible the wholesomeness of my skin.
Acting is sometimes such violent physical exercise that precautions
should be taken against catching cold. Therefore on entering my
dressing-room I change my underclothing.
I next put on tights or any lower garment that part demands. To free
the face from any dust that might be rubbed into the pores by the
process of making-up I wash with pure Castile soap and warm water. Then
thoroughly dry the skin with a soft towel.
While making-up I wear a cotton dressing-gown.
My dressing-table has a large mirror flanked by two electric lights. On
this table the grease paints, wig and other materials that I require
for a given make-up are arranged.
First a little oil is thoroughly rubbed into the skin filling the pores
and keeping them from being clogged with the paint.
I next build up with nose-paste any features that require additional
relief. Then the face, neck and ears are covered with a thin layer of
2-1/2 grease paint. This is done that all inequalities of colour may
be eliminated, and enables one to subsequently get a smooth, clean
groundwork, no matter what colour is desired.
I put on my wig, taking care that the join is invisibly blended. The
face, neck and ears are then covered with a suitable groundwork that I
mix on the palm of my hand. The broad shadows are next introduced, such
as sunken cheeks, temples, and shadows round the eyes.
The accentuation, with smaller shadows, of the mouth and eyes is the
next work. Wrinkles are added, care being taken that they are placed
at places that nature would select. This may be discovered by actually
wrinkling the face and observing where the lines fall. High lights are
then applied.
If a beard or moustache is to be worn, carefully remove the paint with
a clean towel from the part that will be covered by the false hair and
apply a little spirit gum to the clean skin. Adjust the beard and hold
it until it adheres thoroughly. Always blend the beard with the cheeks
with loosely-combed crepe hair as this will help the naturalness of the
appearance. Powder the face. The eyelashes are darkened by drawing a
thin line along the edges of the lids. This I do with an orange stick
dipped in melted paint. The eyebrows are then drawn in. The make-up is
finished by colouring the lips.
I occasionally walk back from the mirror that I may get an impression
such as a distant spectator might receive.
The hands and arms are made up if the character demands it.
The dressing is completed and I step in front of a full-length mirror
for a final inspection prior to going upon the stage.
What the precise impression is that I make upon my audience I cannot
say, I only know that in many character parts I have been unable to
recognise myself.
The time that it takes to make-up must of course vary with the
complexity of the characterisation. At dress-rehearsals when I make-up
for character for the first time I allow myself one hour and a half,
but this when I get more experienced with the part is sometimes reduced
to half an hour. The hurry that this necessitates is nerve-racking
both for actor and dresser and becomes a race with the call-boy. "Half
an hour please," he shouts, his voice echoing up the stairs. Then you
begin to work furiously. When what seems only a few minutes gone by,
his second warning, "A quarter of an hour, please," is heard. Then you
increase your speed. When the boy calls "Overture," if you are not
almost dressed you tell your dresser with more decision than taste
that you know that you will be off. "First-act beginners" means a
bad-tempered rush for the stage, and the struggle with final buttons on
your way. Once upon the stage you almost invariably find that you have
a few minutes in which to regain your breath. Then, warmed by the glare
of the footlights, you forget that you have ever hurried in your life.
In fact, if you are a good actor you forget everything but the part you
play.